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Friday, September 12, 2008
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Sorry if anybody had this as a profile song.............the old version seemed to be corrupt
and would not play anyways.........so now its fixed
so no we are not trying to fool you and make you think its a new song...it just had to be updated...and has a low play count now since its been reloaded
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Thursday, July 10, 2008
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The Leslie speaker is a specially constructed amplifier/loudspeaker used to create special audio effects utilizing the Doppler effect. Named after its inventor, Donald Leslie, it is particularly associated with the Hammond organ. Separate Leslie speakers were a "must have" accessory for all Hammond owners, particularly after its characteristic sound was popularised by such acts as Procol Harum on "A Whiter Shade of Pale," by Lee Michaels on "Do You Know What I Mean", or the Spencer Davis Group on "Gimme Some Lovin'," or on much of the '60s output of Steppenwolf.
Although the Leslie speaker and the Hammond organ are often spoken of as one organized musical system, Hammond never owned or manufactured any speakers or parts for the Leslie Corporation, much less advertised for it. Hammond refused to package any Leslie speakers with its organ sales, instead using its own speakers which produced virtually no "Leslie-like" special effects. There are reports of the Hammond Organ Company strong-arming piano and organ stores into not selling Leslie products. Threats would go as far as telling the dealerships that the Hammond Organ line would be pulled if they sold Leslie products. Hammond did repair Leslie units as a customer service, but only when asked to. Most techs now will fix both Hammond organs and Leslie speakers.How it Works
Although there have been many variations over the years, the classic Leslie speaker consists of two driver units - a treble unit with horns, and a bass unit. The key feature is that the horns of the treble unit (actually only one working horn, but a dummy horn is used to counter-balance it) and a sound baffle for the bass unit are rotated using electric motors to create 'Doppler effect based' vibrato, tremolo and chorus effects. The rotating elements can be switched between two speeds (or stopped completely by means of optional "brakes"), and the transition between the two speeds produces the most characteristic effects.
The resulting sound is instantly identifiable as that of the Hammond organ, frequently heard on psychedelic and rock music of the 1960s and 1970s. Unlike a high fidelity loudspeaker, the Leslie is specifically designed, via reproduction of the Doppler effect, to alter or modify sound; faithful reproduction has never been part of its appeal. Much of the unique tone is owed to the fact that the system is at least partially enclosed, but with linear louvres along the sides and front so that the unit can vent the sound from within the box after the sound has bounced around inside, mellowing it. While many organists prefer the fast "vibrato" setting, the Leslie's slow speed produces a lush "chorus" effect which suggests the sound of a pipe organ in a large hall or church much more effectively than static speakers can. The Leslie might be considered an electro-mechanical sonic effects machine. Many rock and roll organists have turned the box around to expose the horn's rotation for a visual effect, and in the hope of projecting a more powerful sound from both speakers.
Other Uses
Electric guitar
* "While My Guitar Gently Weeps" - The Beatles featuring Eric Clapton
* "Let It Be" - The Beatles
* "Badge" - Cream
* "Any Colour You Like" - Pink Floyd
* "Black Hole Sun" - Soundgarden
* "Goodbye Yellow Brick Road" - Elton John
* "Lucy in the Sky with Diamonds" - The Beatles
* "Give" - Dishwalla
* "Good Times Bad Times" - Led Zeppelin
* "Not Enough" - Van Halen
* "What It Takes" - Aerosmith
* "Pink" - Aerosmith
* "Wet Sand" - Red Hot Chili Peppers
* "In Your Letter" - REO Speedwagon
* "Little Wing" - Jimi Hendrix
* "The Wanton Song" - Led Zeppelin
* "You Never Give Me Your Money - The Beatles (and reprised at the end of "Carry That Weight")
* "Cold Shot" - Stevie Ray Vaughan
* "Humpty Dumpty" - Aimee Mann
* Trey Anastasio from the jamband Phish routinely uses a custom Leslie system on his guitar in both studio and live settings
* "Always" - Bon Jovi
* "Let It Loose" - Rolling Stones - Exile On Main Street
* "Tumble in the Rough" - Stone Temple Pilots
* "Fake It"- Seether
* "Lucy in the Sky with Diamonds" - Elton John
* "Asthenia" - Blink-182
* "Baby Come On Home" - Led Zeppelin
* ""Sleeping Giant""- Mastodon
Piano and other keyboard instruments
Pink Floyd used the Leslie speaker on a piano in "Echoes," as well as in the Atom Heart Mother suite.
Cat Stevens used a Leslied piano on his song "Sad Lisa".
Tori Amos also makes much use of a Leslie speaker on Boys For Pele, a highly experimental album with piano, harpsichord, harmonium, and clavichord. On such songs as "Horses", the Leslie effect is made obvious as it is switched on and off for different parts of the song, itself a continuous piano piece, allowing for a strong comparison in the piano's sound.
Brian Eno utilised the rotating speaker effect on piano throughout "Becalmed" (from Another Green World).
Tony Banks from Genesis earlier live keyboard setups from between 1970 to 1976 featured all of his keyboards (which included a Hammond L-100 (later a T-100), a Mellotron Mk2, a Hohner Pianet, and later an RMI 368 Electra-Piano and Harpsichord, and an ARP Pro-Soloist), being run through Leslie speakers. The best examples of the use of the speakers are the Mellotron introduction of "Watcher of The Skies", and the electric piano solo of "The Musical Box". Banks later dropped the Leslie speakers, using chorus and phaser pedals instead.
Vocals
As innovated by Beatles engineer Geoff Emerick, John Lennon's voice was processed through a Leslie speaker for the highly experimental song "Tomorrow Never Knows" on The Beatles' 1966 album Revolver. The Beatles also used George Harrison's Leslie-processed vocals on the song "Blue Jay Way" on their 1967 album Magical Mystery Tour.
In the 1970s, David Gilmour of Pink Floyd passed both his vocal mic and his guitar through a Leslie on early live versions of "Any Colour You Like" and sung along to the solo as he played it, and Ozzy Osbourne sang through a Leslie speaker on the song "Planet Caravan" on Black Sabbath's 1970 breakthrough album Paranoid.
Jon Anderson of Yes sang vocals through a Leslie on "Astral Traveller" from the band's second album, Time and a Word.
Jerry Garcia's voice was processed through a Leslie Speaker on the song "Rosemary" from the Grateful Dead album Aoxomoxoa.
Led Zeppelin used Leslie processing on Robert Plant's vocals in the song "What Is and What Should Never Be" from their 1969 album Led Zeppelin II.
Neil Young sings through what appears to be a heavily distorted Leslie speaker on several tracks on his album Greendale
Matt Bellamy uses a Leslie speaker for Muse's song "Yes Please"
 
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